UK vinyl LP pressing. 2011 sophomore album from the British vocalist.. Most of the album was recorded in Malibu with the legendary Rick Rubin (Johnny Cash, Jay Z, Red Hot Chili Peppers) and back in Kensal Rise in London with Paul Epworth (Plan B, Bloc Party, Florence). Adele cites Wanda Jackson, Yvonne Fair, Andrew Bird, Mary J Blige, Mos Def, Elbow, Tom Waits and Kanye West amongst others as key influences on 21. About its release she says 'I'm very excited, nervous, eager, anxious but chuffed to announce my new album! It's taken a while and it knocked me for six when writing it. It's different from 19, it's about the same things but in a different light. I deal with things differently now. I'm more patient, more honest, more forgiving and more aware of my own flaws, habits and principles. Something that comes with age I think. So fittingly this record is called 21. The whole reason I called my first album 19 was about cataloging what happened to me then and who I was then, like a photo album you see the progression and changes in a person throughout the years'.

Following the success of her Grammy Award-winning debut album "19", Adele and Columbia Records/Xl proudly announces the release of her sophomore release, "21". Renowned for her incredibly unique vocal and songwriting abilities, her debut received two Grammy Awards in 2009 (Best New Artist and Best Female Pop Vocal Performance) as well as a BRIT Award in 2008 (Critics Choice).

Recorded in Malibu and London, 21 offered Adele the opportunity to work with such luminary producers and songwriters as Rick Rubin, Paul Epworth, Ryan Tedder, Dan Wilson and Fraser T. Smith, as well as continuing to work with Francis “Eg” White and Jim Abbiss.

This collection of songs showcases the growth of this incredible artist, who at the very young age of twenty two, exhibits the poise of a seasoned veteran. Adele’s music takes some new direction while staying true to her signature style.“I discovered lots of artists I'd never heard of, particularly Wanda Jackson, Allison Krauss, Yvonne Fair, Andrew Bird, Neko Case, Lady Antebellum and Steel Drivers who I fell in love with. Then I delved in to more from artists I've loved forever - Mary J. Blige, Kanye West, Elbow, Mos Def, Alanis Morissette, Tom Waits and Sinead O'Connor. There's something in every single one of these artists that have really really inspired 21.”

Selections:1. Rolling In the Deep2. Rumour Has It3. Turning Tables4. Don't You Remember5. Set Fire To the Rain6. He Won't Go7. Take It All8. I'll Be Waiting9. One And Only

Friday, 25 November 2011

Sansui T-7 stereo FM tuner in excellent working condition.Made in Japan.Very clean inside and outside.Very good reception when used with external antenna.Tune in to all local FM broadcasting loud and clear.Condition : 7.5/10Asking price : SOLDPlease contact Alan 016-5576846

Vintage Supex SDT180 MC step up transformer in near mint condition. Made in Japan. C/W original box.The Supex SUT is in excellent working condition and will match many types of low output MC cartridge.Hard to find in this kind of condition.Location : IpohAsking price : SOLDPlease contact Alan 016-5576846

Tuesday, 15 November 2011

Legendary 1954 Reiner/CSO performance of a Strauss warhorse. Recorded directly to two-track analog by Jack Pfeiffer,who oversaw this Classic transfer of one of his favorite recordings and hailed this reissue as “definitive and spectacular.”

These historical recordings are the first Living Stereo sessions for the Chicago Symphony Orchestra under the legendary Fritz Reiner.

Considered by many to be the ultimate in high fidelity, this justly famous recording of Strauss' enigmatic score glows on the Classic Records reissue. Based on the Nietzsche's philosophical novel of the same name, Richard Strauss pulls out all of his tricks of orchestration to provide the listener with a musical journey of superhuman proportions. This giant struggle is guided carefully by the equally extraordinary efforts of Fritz Reiner and his Chicago Symphony Orchestra.

If not guided with a careful hand, the many sections of Zarathustra can so easily come apart at the seams. Therefore, it is much to our benefit that Reiner knows the score inside out and ensures that each episode maintains musical interest. As such, the orchestra travels from Dawn to the bitonality and ambiguity of Night with relative ease.

Recorded with just two Neumann M-50 microphones, Producer Pfeiffer and Engineer Chase made history with this early stereo session (there is some information suggesting a 77-DX mic was used as a "wind helper" in addition to the two Neumanns, and judging from the up-front sound of Adolf Herseth's supercharged trumpet, I suspect the rumor is correct). The sound is transparent, highlighting wonderful instrumental timbre and boasting solid bass impact when the score requires. Orchestra Hall's shallow, demi-lune stage is complete in its metaphysical state, captured in near-photographic form. No wonder this record is the measure by which the sounds of many LPs are judged.

Trichord Dino MM/MC phono pre amp.Made in England.The phono pre amp is in very good working condition. There is dip switch under the chassis to switch to MM or MC gain. Sounds very good and easy to match many types of cartridges.Condition : 8/10Location : IpohAsking price : SOLDPlease contact Heng 016-5588088

Hubble hospital grade 3 pin plug ( Male ).Imported from the US. Used but still in very good condition.Guarantee all original Hubble.Location : IpohAsking price : RM38 each ( more than 100 pcs. available )Please contact Alan 016-5576846

Saturday, 12 November 2011

High-definition premium 180gm vinyl pressing of this classic Jazz album. Although this album marks Thelonious Monk''s sole recording as a member of Art Blakey''s celebrated Jazz Messengers, the pianist and drummer were very close friends who understood each other well on both a personal and musical level. In fact, Blakey was present on both Monk''s first and last studio sessions, spanning a period of 24 years from the 1947 quintet and trio recordings to the last sets taped in London in 1971, when Blakey and Monk were touring with the group called the "Giants of Jazz" (which also included Sonny Stitt, Dizzy Gillespie, Kai Winding and Al McKibbon). In fact, all of these recordings (the 1947 sessions debuting the very personal musical conception of Thelonious Monk, this amazing 1957 session with the Messengers made during the zenith of Monk''s career and the 1971 London session) are true masterpieces in their own right. Art Blakey''s presence on all of these recordings was not purely accidental as he and Monk shared a common artistic feeling. Blakey never made a secret of his admiration for Monk both as a pianist and as a composer. With the exception of Johnny Griffin''s "Purple Shades", all of the compositions on this album are classic Thelonious Monk tunes. "I always record some of my songs over again", explained Monk during a 1965 interview with Les Tomkins, "but it''s not going to be the same because I don''t think of playing it the same way as I thought of playing it before. And then it might be with a different instrumentation. Like, some things I might play with the tenor now had alto before. I have to think differently of voicing the tenor, so that automatically eliminates the alto sound. That''s why I think there''s no harm in doing things over- because these songs are supposed to live." The addition of the trumpet here is a departure from Monk''s typical classic quartet format, and all of the musicians featured here are different as well, making this music sound completely fresh

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Saturday, 5 November 2011

The very fact that America’s biggest jazz label called one of their albums quite simply “Ella and Louis” indicates that we are talking about something very special here. And surely enough has been said – “Satchmo” and the grande dame of jazz certainly need no further introduction. In the '50s just the mere mention of their forenames was enough to light up the eyes of jazz fans. A glance at the tracklist reveals that tranquility rules the day: wild stomps and improvised scats will neither be sought nor missed. Of prime importance to the jazz-ballad is a feeling of “letting oneself drift” in the inspiration which gushes forth from the minds of genial American songwriters.

This is no contest – for the artists all pursue a common goal with extreme sensitiveness. The background combo, made up of first-class musicians and led by Oscar Peterson, performs with great concentration and almost obtrusive unobtrusiveness. VERVE’s highly successful producer Norman Granz decided quite deliberately to make the recording in the studio instead of at a live session. And success has verified his judgement, for such vocal jazz knows only gentle tones – but the result is all the more intensive for that.

Selections:1. Can't We Be Friends?2. Isn't This A Lovely Day?3. Moonlight In Vermont4. They Can't Take That Away From Me5. Under A Blanket Of Blue6. Tenderly7. A Foggy Day8. Stars Fell On Alabama9. Cheek To Cheek10. The Nearness Of You11. April In Paris

Wednesday, 2 November 2011

One of the pivotal recordings in bringing about the widespread acceptance of Sonny Rollins as a major figure, Saxophone Colossus inspired critics to write scholarly analyses and fans to revel in hard-swinging invention humor and tender-strength balladry. Up to this album, while most musicians recognized Rollins as one of the new influential forces in the jazz of the 50's, most critics were carping at Rollins or damming him with faint praise. "St. Thomas," a traditional West Indian melody which Mal Waldron remembered as "The Carnival," was recorded by many artists after Sonny introduced it here. It remains a jazz standard today. The contributions of Tommy Flanagan's elegant swing, Doug Watkin's steady lift, and Max Roach's most musical accompaniment and soloing make this a landmark album. Recording engineered by Rudy Van Gelder.

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